Here is a man who boldly works on his own terms. With his own two hands he built his own compound, not just a house, but 4 buildings, one of which is purposed as a place to view the moon. It says something about Shiro that he spent the time and energy to build something dedicated to watching the moon and I dont know who wouldnt envy having one of their own.
As far as getting along in the art world, he does not enter any competitions and says that the critics can go to hell. Bravo! It’s not about pleasing the critics. With any type of work it is best to do the work for yourself first, to the best of your abilities, and then see what the world thinks.
It is unusual that he was not a Deshi (apprentice) under any Sensei (master) during the time he was learning. I myself felt cheated at a younger age when I learned of this system of learning. However I quickly learned that the entire world is full of masters at anything you care to learn about. Shiro became a potter at the age of 22 and had his first solo show by 30 which was hosted at his own residence. His knowledge traverses the range of styles that Japan is known for: Shigaraki, Iga, Shino, Kohiki (Beautiful Style), Ido, Oku-Korai, Kuro Oribe (Black Oribe) and Setoguro.
His black chawan in any style are very impressive and for one of his solo shows it was said that he made 500 teabowls in 3 months. In the documentary above he says that on a busy day he can throw 800 tea bowls or 1000 teacups. Because of the wide range of work he is producing, technical skill and probably in part due to his nonchalant demeanor, he has gained fame. There is more information on Mr. Tsujimura here at Artsy & E-Yakimono.
Here are some of his works.
(Special thanks to http://artsy.net for the use of these images. There are many more wonderful artists and works to view on their site)
Years and years ago I got up the courage to develop my own black and white film after reading an article that gave me the very basics in a way that I could understand. That understanding only took place after researching over the period of many months.
I’m experiencing the same thing with glazing. After seeing the results of cone 10 glazing and seeing the depth that it creates I’m ready to take it on.
Cone 6 in oxidation just pales in comparison. It looks as if there is a film of glass on top of some clay. Sure some of it looks good but cone 10 just has something that makes it sing. It’s as if the glaze is a part of the clay itself.
I had previously bought chemicals for some cone 6 testing so I have a lot of 2 gallon buckets with a lot of the chemicals I need but cone 10 calls for some specifics. So I’m off to my supplier in a few days to pick up the rest of what I need.
I’ve made up some small pinch pots to test without fear of melting stuff to the kiln shelf. These will also be to test the creation of a black englobe to go along with the buff white clay body I’m using. I want to get 2 complimentary glazes, and with the color of the at body and a black englobe I will have a decent start for decorating and making functional wares with my OWN glazes.
I’m very excited to get some good reliable glazes:
In researching tea ceremony for a client I came across a ceramics show held at the Mason-Scharfenstein Museum of Art at Piedmont College. It is a beautiful museum and the curators are friendly and knowledgeable. I was asked by some friends to make a few pictures so I decided to blog it.
The rising generation from traditional Japanese kilns
Arita and Karatsu Ware – Imaizumi Masato – Porcelain bowl with maple leaf motif in black, blue, and silver
Hagi Ware – Yomato Tsutomu – Bowl with engobe and gold leaf decor
Hagi Ware – Nakazato Taki – Decorated Karatsu fresh-water jar
Hagi Ware – Nakazato Taki – Nanban jar
Hagi Ware – Miwa Kazuhiko – Dreams in White
Hagi Ware – Kaneta Masanao – Pounded, hand-hollowed vase with engobe
Hagi Ware – Kaneta Masanao – Pounded, hand-hollowed vase with white glaze and kiln effects
Hagi Ware – Kaneta Masanao – Pounded, hand-hollowed vase with white glaze and kiln effects – Detail
Kyoto vicinity and Tamba – Okumura Hiromi – White glazed “vessel”
Kyoto vicinity and Tamba – Ichino Genwa – Platter with slip decor
Bizen Ware – Yamamoto Ryuichi – Vase with kiln effects
Kyoto vicinity and Tamba Ware – Ichino Masahiko – Vessel with .inear motif
Kutani and Kanazawa Ware – Ohi Toshio – Ceremonial vessel, Ohi glaze
Kutani and Kanazawa Ware – Ohi Toshio – Fresh-water jar, Ohi white Raku glaze
Kutani and Kanazawa Ware – Miyanishi Atsushi – Blue-glazed vase with wave motif
Kutani and Kanazawa Ware – Yoshida Yukio – Large bowl with overglaze enamel and gold decor
Seto and Mino Ware – Hori Toshiro – Iron-glazed jar
Seto and Mino Ware – Saki Hiroshi – Bluish Shino Jar
Seto and Mino Ware – Suzuki Satoru – Large Oribe Jar – Detail
Seto and Mino Ware – Suzuki Satoru – Large Oribe Jar
Seto and Mino Ware – Hori Toshiro – Iron glazed Jar
Seto and Mino Ware – Hori Toshiro – Iron glazed Jar – Detail
Seto and Mino Ware – Nagae Shigekazu – Glazed vessel built of thin layers
Seto and Mino Ware – Nagae Shigekazu – Glazed vessel built of thin layers – Detail
Seto and Mino Ware – Kurosawa Yuichi – Large Oribe bowl – Detail
Seto and Mino Ware – Ito Hidehito – Oribe bowl
Tokyo vicinity and Mashiko Ware – Hirose Yoshiyuki – “Soaring” large square plate with overglaze and enamel decor – Detail
Tokyo vicinity and Mashiko Ware – Nisaka Mitsukuni – Unglazed bowl with slip decor
Arita and Karatsu Ware – Inoue Yasunori – Bowl in overglaze enamels with carved decor
The installation runs through the end of January. A special reception featuring a gallery talk by Ohi Toshio, one of the artists included in the show, will be held from 5–7 p.m., Jan. 22., 2015. He is an eleventh generation Ohi Master.